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Beethoven: Symphony No. 3; Schubert: Symphony No. 8 - Les Dissonances, David Grimal (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Ludwig van Beethoven (1770-1827), Franz Schubert (1797-1828)
Artist: David Grimal, Les Dissonances
Title: Beethoven - Symphony No. 3; Schubert - Symphony No. 8
Genre: Classical
Label: © Dissonances Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 01:09:28
Recorded: Beethoven - Opéra de Dijon, 20 December 2012; Schubert - Cité de la musique, Philharmonie de Paris, 19 December 2013

Symphony no.3 in E flat major op.55, ’Eroica’: During the summer of 1802 in Heiligenstadt, Beethoven sketched, among other works, his Third Symphony, the composition of which took him a year. On 26 August 1804, he wrote to his publisher Härtel to announce the dispatch of ‘a new grand symphony’: ‘The title of the symphony is really Bonaparte . . . – I think that it will interest the musical public.’ Beethoven had long passionately admired the Consul Bonaparte, but he was to hate the Emperor Napoleon I equally passionately when he learnt of his coronation on 2 December 1804. His pupil Ferdinand Ries portrays the scene: ‘He ew into a rage and cried out: “He too is nothing but an ordinary man!” . . . He went to the table, seized the title page from the top, tore it up completely and threw [the score] on the floor.’ And so the work became a ‘Heroic Symphony to celebrate the memory of a great man’, acquiring the subtitle ‘Eroica’ for posterity.
At the first performance on 7 April 1805, the work impressed the audience with its extraordinary dimensions for the time in terms of duration and breadth, especially the opening Allegro con brio in sonata form, the recapitulation of which is announced by a dramatic dissonance between the strings and the horns. The Marcia funebre widens the palette for the expression of feeling, from the affliction of the theme in the minor mode to the brighter mood generated by the modulations into the major. The Finale is no longer content to play the role of a brief, lively conclusion, but leads us through a rich itinerary of variations on a theme that Beethoven took from his ballet Die Geschöpfe des Prometheus (The Creatures of Prometheus). Yet the first listeners rejected the work, which they deemed too long and muddled, reproaching it for the very thing that has subsequently gained it its renown: for disturbing the ambient Classicism and throwing the gates of the Romantic era wide open.
Symphony no.8 in B minor D759, ’Unfinished’: In 1823, Franz Schubert (1797 - 1828) received the Diploma of Honour from the Styrian Music Society of Graz. In return, he sent his friend Josef Hüttenbrenner, a member of the society, a new work dedicated to it and dated 30 October 1822. Passing from Josef’s hands to those of his brother Anselm, the manuscript lay forgotten in a bottom drawer until it resurfaced in March 1860. Josef Hüttenbrenner mentioned in a letter to the musician Johann Herbeck that his brother ‘possessed a treasure in Schubert’s in B minor symphony, which we consider the equal of the great C major Symphony, his instrumental swansong, and of any of Beethoven’s symphonies – only it is unfinished’. It is to Herbeck that we owe the resurrection of the work and its first performance in 1865.
Only two movements of this symphony have come down to us completely orchestrated. The scherzo is known in its entirety thanks to a piano sketch of the symphony. All that has survived of its orchestration are the nine bars found in the Graz manuscript, between the end of the Andante and four blank pages, and the eleven additional bars rediscovered in 1960 by the musicologist Christa Landon. These twenty bars break o abruptly; they are performed in the present recording by Les Dissonances. The piano sketch reveals that Schubert had planned to write at least the complete scherzo and the start of a trio. But we have no idea of the reasons that prompted him to complete the orchestration of the two first movements only.
It is very likely that the intimidating shadow of Beethoven bulked large in his preoccupations. Aged twenty- five when he wrote the symphony, Schubert was then a fast-rising composer who fully intended to blaze new trails. Though he set out to experiment with large-scale form, the only significant achievement of this kind he completed in the symphonic genre was the ‘Great C major’ Symphony (no.9). But, thanks to this approach, he pushed back the frontiers of Classical forms in his quartets and piano sonatas. And that same quest is the driving force behind the ‘Unfinished’ Symphony, which also offers us the magical privilege of glancing through the sketchbook of a genius. The ambition and maturity of the works of this period left behind by a composer who died aged just thirty-one allow us to imagine what his creative trajectory and his legacy might have been had he lived ten, twenty, thirty years longer, opening the way for Johannes Brahms and Anton Bruckner.
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Beethoven, Schumann, Francaix - Equal - Sebastian Bohren, Chaarts Chamber Artists (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827), Robert Schumann (1810-1856), Jean Françaix (1912-1997), Wolfgang Amadeus Mozart (1756-1791)
Artist: Sebastian Bohren, Chaarts Chamber Artists
Title: Equal - Beethoven: Violin Concerto, Op. 61; Schumann: Fantasia, Op. 131; Françaix: Nonetto
Genre: Classical
Label: © RCA Red Seal / Sony Music Entertainment Switzerland GmbH
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:17:37

A singular combination of Beethoven's only violin concerto (most recently recorded for SONY by Lisa Batiashvili in 2007) with Schumann's "Fantasy For Violin & Orchestra" Op. 131. The Fantasy was lauded at its premiere but today it is rarely seen on concert programs. In a letter dated June 2nd, 1853 and accompanied by a score of Beethoven's Violin Concerto - the link to our recording -, Joachim requested Schumann to write a Fantasy for the violin. A few months later in September, within a few short days, Schumann had sketched the Fantasy and sent it to Joachim for review. Joachim performed the Fantasy at the Schumann's home on September 28th and premiered it in Düsseldorf on October 27th with the orchestra under the baton of Schumann himself. The following year, on January 21st, Joachim performed the Fantasy again. On the same program, Schumann's wife Clara also performed Beethoven's Piano Concerto in E-flat major. It would be the last time Schumann heard both of them perform.
French composer Jean Françaix (1912-1997) has been an admirer of Wolfgang Amadeus Mozart's genius. He arranged Mozarts Quintet K. 452 for four woodwind instruments and piano for oboe, horn, clarinet, bassoon and string quintet. This particular version allows all the soloists from CHAARTS, to showcase their individuals skills.
With his sensitive and expressive playing, 27 year old Swiss violinist Sebastian Bohren ranks among the most promising talents of his generation. The musician has given solo performances in the Vienna Konzerthaus, the Munich Residenz, the Tonhalle Zurich and the KKL Lucerne. He has played with orchestras such as the Zurich Chamber Orchestra, Lucerne Symphony Orchestra, Camerata Zürich, Chamber Aartists, Lucerne Chamber Orchestra, and the St. Petersburg State Orchestra. Sebastian Bohren plays a Stradivarius (King George 1710) generously lent to him by the Habisreutinger Foundation.
CHAARTS – an ensemble of excellent chamber musicians and the best principal musicians from renowned Swiss orchestras such as the Tonhalle Orchestra, the Sinfonieorchester Basel or the Orchèstre de la Suisse Romande. CHAARTS perform mainly WITHOUT conductor, which means, that every musician has to be extremely attentive and concentrated when he interacts with the other musicians or with soloists. The result are extraordinary interpretations – both exciting and discreet.
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Andrew Bird - Are You Serious (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Andrew Bird
Title: Are You Serious
Genre: Pop Rock, Alternative/Indie Rock, Indie Folk
Label: © Loma Vista Recordings
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:50:05
Recorded: Fairfax Studio, Zeitgeist Studio

Andrew Bird has always been highly respected and has held a captive audience with his story telling prowess, but it’s with his new album, Are You Serious, that he has made a breakthrough record. Produced by Tony Berg, the album propels him into a new category of American songwriters. It’s his most direct lyrically to date with key contributions from Fiona Apple and Blake Mills.
Three years ago while traveling west to California to start a new life with his wife and young child they stopped at the family farm in rural Illinois for two weeks to catch their breath. The previous two years had been intense to say the least: raising a child in New York City as his wife battled a serious illness. With these dark days behind them he spent the next seven days on the front porch writing the lyrics for what became Are You Serious. It’s a breakthrough for him in that it gets to the quick of the matter. This is the record he needed to make right now and is certain to put him in the leading class of American songwriter.
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Anna Garano, Anais Tekerian - Ansahman (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Anna Garano, Anais Tekerian
Title: Ansahman
Genre: Folk, World, Vocal Music, Jazz Folk, Armenian Tradition
Label: © Fonè Records/Audiophile Productions
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:40:02
Recorded and mixed by Kamilo Kratc; Mastered by Giulio Cesare Ricci

Anna Garano, classical and Flamenco guitarist from Trieste, Italy, has arranged a repertoire of Armenian songs for voice and guitar. Here in New York at Alwan she is joined by Anaïs Alexandra Tekerian, one third of the acclaimed Armenian a cappella trio Zulal, in this lyrical, poignant fusion of Flamenco and vocals of the Old World.
In light of the upcoming 100th anniversary of the Armenian Genocide, Anna and Anaïs will present a selection of Armenian songs of love and idealization, of loss and despair, of questioning and hope.
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Buddy Greco - From the Wrists Down (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Buddy Greco
Title: From the Wrists Down
Genre: Pop, Jazz Pop, Traditional Pop, Easy Listening, Bossa Nova, Piano Jazz
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 31:46
Recorded: 1965

Known by his colleagues as a "singer's singer" and a "musician's musician," Buddy Greco has sold more than one million records. He is well-known for releasing songs from every genre, from jazz to country to pop music. He has performed on stage, on film and on television.
Born Armando Greco in Philadelphia, Buddy Greco began singing and playing the piano at the age of four. He used his talents performing on the radio. By the age of 16 Buddy Greco had more than a decade of musical experience behind him. He was playing in the nightclub Philadelphia's Club 13 when he was spotted by Benny Goodman. Bandleader Benny Goodman was impressed by Buddy Greco's talents and hired him as a pianist, a singer and an arranger. At the age of 16 Buddy Greco was traveling the world with one of the most popular big bands of the '30s, the Benny Goodman Band. He stayed with the band for four years.
At the ripe age of 20 Buddy Greco decided to pursue a solo professional music career. He began singing and performing in nightclubs and concerts. Some of his hit recordings include the popular favorites "Oh Look at Her, Ain't She Pretty," "The Lady Is A Tramp" and "Around the World." During his musical career he has made more than 65 albums including an album of he and the London Symphony Orchestra, in which he conducted and played.
In the '60s Buddy Greco's music career had been very successful. He appeared with the popular '60s rock group the Beatles in a performance for Queen Elizabeth the second. It was also in the '60s when Buddy Greco seriously began a career in film and television. In 1967 he was a regular performer on the TV series Away We Go. This nationwide television program gave Buddy Greco enormous exposure as a talented singer and pianist. He followed this series with a part in the 1969 film, The Girl Who Knew Too Much. His talents have taken him to great heights recording more than 100 hit singles. During the '70s and '80s, Buddy Greco concentrated on recording and performing. His hits included jazz, country and pop music. Audiences are astounded at the many styles of Buddy Greco.
Even after more than four decades of performing, Buddy Greco still remains one of the most widely-known singers of his time. In the early 90s he toured with "The Salute to the Benny Goodman Band." The ensemble performed 72 shows, each garnering a standing ovation. He performed for two years at The Desert Inn Hotel in Las Vegas and in 1996 ended two world tours at Café Royale in London.
With all his musical credits, Buddy Greco is an inductee of the Philadelphia Music Alliance's Walk of Fame and has entries in both the Encyclopedia of Great Musicians and the Encyclopedia of Great Jazz Singers and Musicians. Buddy Greco's musical abilities live on in his more than 60 albums and more than 100 hit singles. He writes and records scores for film and television. --Artist Biography by Kim Summers
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Fairground Saints - Fairground Saints (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Fairground Saints
Title: Fairground Saints
Genre: Pop Rock, Country Folk, Indie Folk, Alternative/Indie Rock
Label: © The Verve Music Group, a Division of UMG Recordings, Inc.
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 47:04
Recorded by Gabe Veltri and Csaba Petocz at EastWest Studios, Hollywood, CA and Matthew Wilder at HP Studios, Malibu, CA

This self-titled debut album from Los Angeles roots trio Fairground Saints is packed with warm and wistful sounds that play off the delicate contradictions at the heart of the music. The band consists of singer and guitarist Mason Van Valin, Elijah Edwards on vocals, guitar, mandolin, keyboards, Dobro and accordion and Megan McAllister on vocals, guitar and dulcimer, each sharing songwriting duties. For this debut, the group shook off all inhibitions and took a playful approach to the writing and recording, allowing the three members to hold true to their vision of creating "a very love driven album.” There’s no filter on the emotion coming through in the songs, all based in visceral feeling, with lyrics as real as any conversation with an ex-girlfriend or boyfriend. Produced by Matthew Wilder (No Doubt, Christina Aguilera), the album showcases the trio's elegant melodies and lush three part harmonies.

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Bruce Springsteen & The E Street Band - 2016-05-25 - Etihad Stadium, Manchester, GB (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Bruce Springsteen & The E Street Band
Title: 2016-05-25 - Etihad Stadium, Manchester, GB
Genre: Rock
Label: © Live Bruce Springsteen
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Duration: 03'11'05
Recorded: 2016/05/25 Etihad Stadium, Manchester, GB

Bruce Springsteen and the E Street Band launch The River Tour 2016, a nine-week US trek, on Jan. 16 in Pittsburgh. The announcement of the tour coincides with today’s release of “The Ties That Bind: The River Collection,” a comprehensive look at the era of the 1980 “The River” album that “Rolling Stone” calls “Springsteen’s best archival release yet.” The box set is now available at Amazon (4CD/3DVDs or 4CD/2Blu-ray) and iTunes.
Each night of the tour will be mixed for release on as high-quality downloads and CDs. Recordings will be available within days of each performance.
The original The River Tour began Oct. 3, 1980, two weeks before the release of Springsteen’s fifth album, and continued through Sept. 4, 1981. With sets that regularly approached the four-hour range, the 140-date international tour firmly established a reputation for Bruce Springsteen and the E Street Band as marathon performers.

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Arie Napoletane - Max Emanuel Cencic, Il Pomo D'Oro, Maxim Emelyanychev (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Composer: Nicolai Porpora (1686–1768), Leonardo Leo (1694–1744), Leonardo Vinci (1696–1730), Alessandro Scarlatti (1660–1725), Giovanni Battista Pergolesi (1710–1736), Domenico Auletta (16x–1747)
Artist: Max Emanuel Cencic, Il Pomo d'Oro, Maxim Emelyanychev
Title: Arie Napoletane: Max Emanuel Cencic
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz 24bit
Source: Qobuz
Duration: 01:15:21
Recorded: Villa San Fermo, Lonigo, Italy, 7–14 February 2015

This is clearly a treasure trove of forgotten opera arias . . . an accomplishment that seems near effortless. Blurring the traditional gender stereotype his androgynous tone adds invigorating and adventurous elements to these focused and impeccably controlled performances -- so full of life. There is a striking purity to the counter-tenor's dusky timbre together with a steadfast technique . . . The quality of each aria is consistently high and I have selected several highlights. Praiseworthy is Porpora's quick and exciting "Quel vasto, quel fiero" from "Polifemo". Cencic in decisive form as the heroic Ulysses demonstrates his aptitude for the technical challenges. In the title role the tender and affecting love song "Dal suo gentil sembiante" from Leo's "Demetrio" is an excellent example of Cencic's lovely smooth line with some modest ornamentation and a gloriously fluid glide to his high registers . . . There's a vivid presence to the sonics of this satisfyingly balanced and admirably presented recording. Lovers of Late-Baroque opera and the counter-tenor voice will be in their element. Those new to this repertoire need not hesitate. Max Emanuel Cencic is in magnificent form with these high quality, yet inexplicably forgotten, arias.
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